When Doug Hoefer (Harry's cousin) got back home from
L.A. in 1976 (he lived in the next town over from me on Long Island), I remember he was
full of stories about the "That's The Way It Is" sessions. (Although no one knew
what the title would be right then.)

How Harry picked "hits" off the top of his
head in answer to RCA requesting for a new "hit" Nilsson album.

How Jim Keltner told Doug (also a drummer) never to
play behind, ahead or on the beat and had nothing but a nudie centerfold on his music
stand next to his drums in the studio.

How he gave Lynda Lawrence a ride home, got
introduced to Stevie Wonder (who thanked Harry on his "Songs In The Key Of Life"
album (to which Harry responded: "I didn't do anything... ")and drove Ringo home
who thanked Doug by giving him his then famous aviator sunglasses.

How the sessions were recorded live with music and
vocals.

How it struck Doug funny upon meeting George
Harrison, he realized that they were both tall and thin and could've worn each other's
clothes.

How Harry and George would have "note-holding
contests". About what a trip Van Dyke Parks was. Jim Keltner's wacky
"count-offs". What a earnest and great producer Trevor Lawrence was. The
"chain-breathing" choir on "That Is All" was his idea.

My God, this was 25 years ago! "That Is
All" is definitely my favorite track from "That's The Way It Is". It's pure
George Harrison: sweet, yet sincere sentiment; unusual chord progression, it's essentially
the same but in two different keys, constantly revolving; an aching melody, beautiful.
Harry's version is far more dynamic than George's (with all due respect to my favorite
Beatle), both vocally and musically. Once again, it was Harry's vision as an artist that
took a seemingly pedestrian tune and made it into such an incredible power-ballad. He did
it before with Badfinger's "Without You". Compared to the rest of the exciting
performances on their "No Dice" album, "Without You" sounds like a
simple demo track. Harry, Richard Perry and Paul Buckmaster made it something remarkable.
Even Badfinger admitted they didn't have what Harry had to get it there. Perhaps if they
had waited to record it for the "Straight Up" LP, it could've been a
"monster" for them. "That Is All" is the centerpiece of the album.
Harry knew the track had everything: great instrumentation, melody, lyrics, vocals,
dynamics, presence, sentiment, everything! No wonder it was reprised at the end of the
album. I don't know about you, but both versions give me chills! Over the years, I know
some people have felt that Harry's approach to this particular album might have appeared
somewhat "casual". But please, take my word for it, knowing him as I did, he
meant business on this track. ("Moonshine Bandit", too.) As a footnote, I'd like
to mention that when Andrea & I were working on "Personal Best" and RCA
showed us the song choices, we immediately pointed out that they had skipped any
representation from this album. RCA chose "Sail Away". Had it been up to us,
"That Is All" would have been our choice.

I'd love to share with you regarding Harry
Nilsson, his life and his music.
For more information email me at: Nilssonian(a)Yahoo.com
or Twiiter @nilssonian